With the publication of Mai devi domandarmi (Milan, 1970) the enigma of Natalia Ginzburg's literary personality as it presents itself to critic and reader has come no closer to a solution. The book was a collection of thirty-one pieces in prose (four of which had not previously been published in periodicals or newspapers) which only served to confirm the impression of a diffident, fugitive writer who has at different times condemned every feature of her narrative (reliance on memory, frankness and simplicity of tone) and seemingly placed herself outside the reach of critical discussion. In essay after essay of Mai...